About

13 is an impressionable age and it was the timely discovery of “Space Oddity” on her brother’s stereo that brought forth the realisation of music’s power to evoke, lift and transform the space it occupies.

Kle Savidge arrived in the UK in 1990 from her hometown of Toronto, surmising somehow that she might find herself ever more engaged in the British soundtrack that informed her youth. Serendipitously, she immediately found what she was looking for when she stumbled upon a nascent Creation Records and a certain Alan McGee who took her under his wing and made her his right hand woman for the next ten years. Kle was at the centre of a seminal movement in recent British pop history as a hopeful Noel Gallagher arrived at the Creation office with a demo tape that would change everything. Working with the acclaimed talents of artists such as Oasis, Primal Scream, Teenage Fanclub, Ride, My Bloody Valentine and Jesus and Mary Chain gave her extensive experience in all aspects of recorded music – from booking and hanging around in recording studios (sometimes even lending her vocal talents) to being out on road from the UK to Japan.

Kle has always possessed a unique attraction to groundbreaking music and, when Creation imploded in 2000, she went home, put her stereo on full blast and wondered what do to next when it hit her: she could keep the stereo on and call it her job.

She has gone on to work on BAFTA and Oscar® nominated films and her speakers have blared everything from great new music by bands discovered at the Camden Rocks festival to the biggest stars of the opera world. The knowledge she brought forth, in early work on “Me Without You” starring Anna Friel and Michelle Williams was proof that her teenage years as a high school dropout working at a record store by day and hanging out in all-night alternative dance clubs by night were in fact ‘research’, setting the stage for a frutiful career path. Highlights include working with David Schwimmer on his directorial debut “Run Fatboy Run”, dolling up in the garb of 1962 to appear onscreen during a supper club scene featuring performer Beth Rowley in Lone Scherfig’s “An Education” and working closely with the inimitable Dustin Hoffman on his directorial debut for over a year on all aspects of music in “Quartet”, inspiring her to finally take up the piano.